Arts

Daniel Day-Lewis has won two Academy Awards for fully immersing himself in his characters in There Will Be Blood and My Left Foot.

Now the British actor is taking on one of America's most iconic figures in Steven Spielberg's Lincoln, playing the 16th president during the final months of his life. Day-Lewis tells NPR's Melissa Block that it was a daunting prospect — but that ultimately Lincoln was a surprisingly accessible figure.

Interview Highlights

On playing such an iconic figure

Two icons, Abraham Lincoln and James Bond, make triumphant appearances this week in movies with more in common than you'd expect. True, Lincoln is a titan of history, liberator of slaves, and as such an adversary of Western colonialism, while 007 is an outlandish stereotype embodying white male Western authoritarian power. But the makers of these films do a sterling job of testing their respective subjects in front of our eyes — before pronouncing them fit to carry on in our collective imagination.

If you've only come across fairy tales courtesy of Walt Disney, or some other sweetened retelling, the dark culinary themes in the 19th-century versions told by the two German brothers, Jacob and Wilhelm Grimm, may come as a shock.

A new James Bond movie opens this week, 50 years after the first film, Dr. No.

The latest installment, Skyfall, finds Daniel Craig once again in 007's perfectly tailored suit. And this time, Bond is battling both the bad guys and his own mortality.

As the old saying goes, the apple doesn't fall far from the tree. In other words, the child takes after the parent; the son is a chip off the old block.

Of course, that's often not the case. Straight parents have gay children and vice versa; autistic children are born to parents who don't have autism; and transgender kids are born to parents who are perfectly comfortable with their gender.

Whenever the military rolls out some revolutionary new robot, folks are quick with the Skynet jokes. But in recent years, some robotic-evolution experiments suggest that robotic rebellion might end in applause rather than annihilation.

Take, for example, the robot KUKA — the hulking star of a French nouveau-cirque performance, Sans Objet, which premieres at the Brooklyn Academy of Music on Friday. It's no special effect; it's a real robot, developed by the automotive industry in the 1970s.